This is also where I add global effects, like compression for dialogue and limiting for the master mix. Then perform overall adjustments and “riding faders” in the track mixer. This means balancing components using keyframes and clip mixing. Mix for stereo output as you normally would. A simple VO+music sequence will only have two to four tracks, while dramatic entertainment pieces will have a lot more. Delete all empty audio tracks when you are ready to mix. Of course, the number of actual tracks needed for these audio types will vary with your projects. For instance, don’t put sound effects onto tracks that you’ve designated for dialogue clips. What you don’t want to do is mix different audio types onto the same track. Keep like audio types on their intended tracks. Typically this means dialogue and VO tracks towards the top (A1-A4), then sound effects (A5-A8), and finally music (A9-A12). Get into a habit of organizing your audio tracks. This is the starting point, but more video and audio tracks get added, as needed, during the course of editing.
These typically require stereo mixes, so my presets start with a minimum configuration of one picture track, two standard audio tracks, and stereo output. I’ve created a few custom presets that I normally use, based on the several standard formats I work in, like 1080p/23.9p/29.97. Start out by editing as you always have, using your standard sequence presets. But, what about sequences that are already edited, which didn’t start with a track configuration already set up with submix tracks and proper output routing? In fact, that’s quite easy, too, which brings me to today’s post. Go back and read the article for more detail.
#Adobe premiere pro presets 2017 how to
Last year I wrote about how to set this up using Premiere submix tracks, which is a standard audio post workflow, common to most DAW and mix applications. While that’s more or less true – and, in fact, can be a lot deeper than simply a few aggregate channels – that doesn’t mean it’s particularly hard or less versatile in Premiere Pro. FCPX pros like to tweak the noses of other NLE users about how much easier it is in FCPX. If you are a Final Cut Pro X user, the “audio lanes” feature makes it easy to organize and export sequences with isolated channels for dialogue, music, and effects. It’s often a deliverable requirement and having such a file makes later revisions or derivative projects much easier to produce. Creating multichannel, “split-track” master exports of your final sequences is something that should be a standard step in all of your productions.
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